The Demon of the Opera
by FeatherTrinity
Summary: Ravin: Hinata Hyuuga's Diary's, the stories of the Ballet, and the strange correspondences between the "Opera Demon", Sasuke De Uchiha, and the Managers of the Opera; all come together in this thrilling mystery story that captured all of Suna's attention. Phantom of the Opera Cross with Naruto, Gaahina little bit of SasuHina. Total love triangle! Warning Mature content.
1. Chapter 1

**FeatherTrinity Writer****: Ravinious L. Rosa DiamondEyes the Howler**

**Fiction of: Phantom of the Opera by Gaston Leroux & Naruto**

**Name: **_**Demon of the Opera**_**  
**

**Disclaimer:**** I do not own **_**Naruto**_** or **_**Phantom of the Opera**_**, the characters from **_**Naruto**_** or **_**Phantom of the opera**_**, nor any other aspects of **_**Naruto**_** and **_**Phantom of the Opera**_**. I do not own any of the songs, lyrics, or any other aspect from any and all music groups, bands, singers, songwriters, and artists that are featured in this story. I also do not own any brand names that may be featured, such as **_**Coke, Pepsi, Crest, Aquafresh, Campbell's**_**, and so on. If it is a brand named thing, I don't own it. I am not a doctor of any kind, any and all information that may be in this story was gathered from a variety of sources and is not intended for personal use, private or otherwise. I am not in any way shape or form qualified to offer advice of any kind, be it physical, mental, or emotional to anyone. If you, a friend, or family needs help, seek it from a qualified professional (although I love to talk!). Any and all brand named goods, services; songs and so on are property and trademarks of their respective owners. I do not in any way, shape, or form advocate, support, or approve of illegal activities that may or may not be featured in this story. These include, but are not limited to: underage drinking, drug use, theft, murder, and assault. This story is rated M, meaning that there is the distinct possibility of content inappropriate for young audiences. This content may include violence, drug use, language, blood, gore, sexuality, and subject matter. I have given my one and only warning on content for this story, and while I can rate and warn all I want, I cannot control the actions of others. ****To any parents who are reading this: your children are your responsibility, not mine. I cannot control what they decide to do on the computer, and if they do something that you don't approve of, it is not my fault or my responsibility****. **

**(Taken from General Summary's .)**

**Notes: There are several things' I'd like to mention before you read on. First, I'm using the movies, the plays and the book to write this fanfiction. My own twist will be added and this story will not be the same as any of the above. I'll be adding at the bottom of each chapter a "explanation" section, see there's some words/phrases that I'd like to explain in greater detail then in the writing itself. Those words/phrases with notes at the bottom will be in bold, **_italics_**, and **underlined** so it's easier for you to **_**spot**_**.**

**I might also have chapter dedications, shoutouts, and free chapter review giveaways if someone can comment the answer to each question at the end of the chapter. Or help with something, or even point out one of the **_**FeatherTrinity**_** OC's, or even one of my other fanfictions characters.**

**Last but not least, (that I can think of for now) is there will be a list of Character's at the bottom and who they will be playing in the play. (this may be added to and changed throughout chapters until the final chapter).**

**Tags: ****phantom of the opera, Gaara, gaahina, gaaraxhinata, hinataxgaara, Hinata, Naruto, crossovers, Sasuhina, hinasasu, Sasuke, Itachi, oc's, feathertrinity, fanfiction, demon, nejixtenten, DiamondEyes, ShikaTema, ShikamaruXTemari, love, romance, drama, horror, stalker, creepy, rape, graphic, blood, gore, action, diary, suspense, fiction,**

* * *

_I was deep in the inner most chambers of the dungeon where I often go for some alone time with a new book. This day I was engrossed in the most mysterious and intriguing novel, it was _The Phantom of the Opera_, and I was thoroughly enjoying it's twisted story._ _So much so I barely noticed when Lord Illusion, dressed in his unchanging black cloak with its strange silvery shadowed pattern, strode up to me. He was silent and startled me as he leaned over my shoulder. He motioned to the book, and said he was always pleased with it. Then as if he had said all that he had meant to say, he plucked the book from my hands and closed it. Then he handed me a quill and paper motioning to the book. His words where mixed with an aerie unseen sneer when he spoke them._

"_Please, write my Feather"_

* * *

**Prologue**

IN WHICH THE AUTHOR OF THIS SINGULAR

WORK INFORMS THE READER HOW SHE ACQUIRED

THE CERTAINTY THAT

THE OPERA DEMON REALLY DID EXIST.

The Opera Demon really existed. He was not, as was long supposed, a being of the imagination of the artists, the superstition of the managers, or a product of the silly and impressionable brains of the young lasses of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh, blood, and scars. Although he assumed the complete appearance of a real phantom; that is to say, of an ethereal shade. When I began to ransack the archives of the _National Academy of Music_ I was at once struck by the surprising coincidences between the phenomena ascribed to the "ghost" or "Demon" and the most extraordinary and fantastic tragedy that ever excited the Suna upper classes; and I soon conceived the idea that this tragedy might reasonably be explained by the phenomena in question. The events do not date more than thirty years back; and it would not be difficult to find at the present day, in the foyer of the ballet, old men of the highest respectability, men upon whose word one could absolutely rely, who would remember as though they happened yesterday the mysterious and dramatic conditions that attended the kidnapping of Hinata Hyuuga, the disappearance of the _**Vicomte**_ de Uchiha and the death of his elder brother, Count Itachi, whose body was found on the bank of the lake that exists in the lower cellars of the Opera house. But none of those witnesses had until that day thought that there was any reason for connecting the more or less legendary figure of the Opera Demon with that terrible story. The truth was slow to enter even my mind, puzzled by an investigation that at every moment was complicated by events. Which, at first sight, might be looked upon as superhuman; and more than once I was within an ace of abandoning a task in which I was exhausting myself in the hopeless pursuit of a vain image. At last, I received the proof that my intuition had not deceived me, and I was rewarded for all my efforts on the day when I acquired the certainty that the Opera Demon was more than a mere shade. On that day, I had spent long hours over THE MEMOIRS OF A MANAGER, the light and frivolous work of the too-skeptical Hatake Kakashi, who, during his term at the Opera, understood nothing of the mysterious behavior of the Demon and who was making all the fun of it that he could; at the very moment when he became the first victim of the curious financial operation that went on inside the "magic envelope."

I had just left the library in the _**depths despair**_, when I met the delightful acting-manager Asuma, of our National Academy. He stood chatting on a landing with a lively and well-groomed old man, to whom he introduced me gaily. The acting-manager Asuma knew all about my investigations and how eagerly and unsuccessfully I had been trying to discover the whereabouts of the _**examining magistrate**_ Mr. Gekkou Hayate; in the famous Uchiha case.

Nobody knew what had become of Gekkou Hayate, alive or dead; and here he was back from _**Konoha**_, where he had spent fifteen years, and the first thing he had done, on his return to _**Suna**_, was to come to the offices at the Opera and ask for a free seat. The little old man was Gekkou Hayate himself! We spent a good part of the evening together and he told me the whole Uchiha case, as he had understood it at the time.

Gekkou was bound to conclude in favor of the madness of the _**viscount**_ Sasuke and the accidental death of the elder brother Itachi, for lack of evidence to the contrary; but he was nevertheless persuaded that a terrible tragedy had indeed taken place between the two Uchiha brothers in connection with Hinata Hyuuga. He could not tell me what became of the lovely Hinata or the _**viscount**_ Sasuke.

When I mentioned the Demon, he only laughed. He, too, had been told of the curious manifestations that seemed to point to the existence of an abnormal being, residing in one of the most mysterious corners of the Opera. He also knew the story of the envelope; but he had never seen anything in it worthy of his attention as _**magistrate**_ in charge of the Uchiha case, and it was as much as he had done to listen to the evidence of a witness who appeared of his own accord and declared that he had often met the ghost. This witness was none other than the man whom all Suna called the "One Tale" and who was well-known to every subscriber to the Opera. The magistrate took him for a creative thinker.

I however was vastly interested by this story of the One Tale. I wanted, (if there were still time), to find this valuable and eccentric witness. My luck began to improve and I discovered him in his little flat in the Sunagakure, where he had lived watching the sands of the desert ever since; and where he died five moons after my visit. I was at first inclined to be suspicious; but when the One Tale had told me, with an animalistic snarl, all that he knew about the Demon and had handed me the proofs of the Demon's existence-including the strange correspondence of Hinata Hyuuga-to do as I pleased with. I of course, was no longer able to doubt.

No, the Demon was not a legend. I forbid to think it so!

I have, I know, been told that this correspondence, between the Demon and Miss Hinata, and miss Hyuuga's Diary may have been forged from first to last by a man whose imagination had certainly been fed on the most seductive and twisted tales; but fortunately I discovered some of Hinata's writing outside the famous bundle of letters and, on a comparison between the two, all my doubts were removed.

I also went into the past history of the "One Tale" and found that he was an upright man despite his _**cunning and incoherent**_ personality. Was incapable of inventing a story that might have corrupted evidence, as he was in love with justice no matter how harsh. This, moreover, was the opinion of the more serious people who, at one time or other, were mixed up in the Uchiha case. Who were in turn friends of the Uchiha family; to whom I showed all my documents and set forth all my conclusions.

In this connection, I should like to print a few lines which I received from General D-:

SIR: I cannot urge you too strongly to publish the results of your inquiry. I remember perfectly that, a few weeks before the disappearance of that great singer, Hinata Hyuuga, and the tragedy which threw the whole of the Suna into mourning.

There was a great deal of talk, in the halls of the ballet, on the subject of the "demon;" and I believe that it only ceased to be discussed in consequence of the later affair that excited us all so greatly. But, if it be possible-as, after hearing you, I believe-to explain the tragedy through the Demon, then I beg you sir, to talk to us about the demon again. Mysterious though the demon may at first appear, he will always be more easily explained than the dismal story in which malevolent people have tried to picture two brothers killing each other who had worshiped each other all their lives. Believe me.

Lastly, with my bundle of papers in hand, I once more went over the demon's vast domain, the huge building which he had made his kingdom. All that my eyes saw, all that my mind perceived, corroborated the "One Tale's" documents precisely; and a wonderful discovery topped my labors in a very definite fashion. It will be remembered that, later, when digging in the substructure of the Opera, before burying the phonographic records of the artist's voice, the workmen laid bare a corpse. Well, I was at once able to prove that this corpse was that of the Opera Demon. I made the acting-manager Asuma put this proof to the test with his own hand; and it is now a matter of supreme indifference to me if the papers pretend that the body was that of a victim of the community. The wretches who were massacred, under the Commune, in the cellars of the Opera, were not buried on this side; I will tell where their skeletons can be found in a spot not very far from that immense crypt which was stocked during the siege with all sorts of provisions. I came upon this track just when I was looking for the remains of the Opera Demon, which I should never have discovered but for the unheard-of chance described above. But we will return to the corpse and what ought to be done with it. For the present, I must conclude this very necessary introduction by thanking, Lee, the late secretary, Asuma, the acting-manager, and more particularly la Baronne de Castelot-Barbezac, who was once the "little Sakura" of the story (and who is not ashamed of it), the most charming star of our admirable corps de ballet, the cousin of the worthy Temari, now deceased, who had charge of the demon's private box.

All these were of the greatest assistance to me; and, thanks to them, I shall be able to reproduce those hours of sheer passion and panic, in their smallest details, before the bookworm's eyes. And I should be ungrateful indeed if I gone astray, while standing on the threshold of this dreadful and veracious story, to thank the present owners of the Opera, who haves so kindly assisted me in all my inquiries, the acting-manager Asuma, and that most amiable of men, the architect entrusted with the preservation of the building, who did not hesitate to help me. Lastly, I must pay a public tribute to the generosity of my mentor and master, Lord Illusion, who allowed me to dip into his splendid theatrical library and to borrow the rarest editions of books by which he set great store.

May You Forever Howl,

Ravinious.

* * *

**Chapter I  
Is it the Demon?**

It was the dusk on which Sarutobi and Chiyo, the managers of the Opera, were giving a final _**gala**_ performance to mark their retirement. When suddenly the dressing-room of Shizune, one of the main dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after "dancing" _**Polyeucte**_, all still in their golden trimmed toottoos.

They rushed in, all in a great bewilderment, some giving voice to forced and unnatural laughter, others to little squeaks of fright. Shizune, who desired to be alone for a moment to run through the speech which she was to make to the resigning managers, looked around crossly at the foolish and disorderly crowd of girls invading her dressing-room.

It was broad shouldered Tenten-the girl with the brown locks, sharp brown eyes, the rose-red cheeks and fairly tanned skin-who gave the explanation in a hesitant voice: "It's the demon!" And she quickly locked the door.

Shizune's dressing-room was fitted up with commonplace elegance. A pier-glass, a sofa, a dressing-table and a cupboard or two provided the necessary furniture. On the walls hung a few engravings, heirlooms of her mother, who had known the glories of the old Opera in the _**Rue le Peletier**_; But the room seemed a palace to the girls of the _**corps de ballet**_, who were lodged in common dressing-rooms where they spent their time singing, quarreling, and doing what gaggles of girls do best.

Shizune was very superstitious and fearful of such things as demons or ghosts. She shuddered violently when she heard little Tenten speak of the demon, and was quick to call her a "silly little fool" and then, (as she was the first to believe in ghosts in general- and the Opera Demon in particular), at once asked for details.

"Have you seen him?" she begged her eyes wide and full of questions.

"As plainly as I see you now!" said Tenten, whose normally strong legs were giving way under her, and she dropped with a groan into the vanity chair. Thereupon composed Samus-the girl with eyes reddish-brown like a red colt, her hair black as ink, a pale complexion and a poor little skin stretched over bones-little Samus added: "If that's the Demon, he's very strange!"

"Oh, yes!" cried the chorus of ballet-girls. And they all began to talk at once. The demon had appeared to them in the shape of a tall man in plain desert wear, black with white, brown and red sash's recalled one of the girls; Another piped in almost shrieking like a cat, "His eyes where..! And his hair!"

Then all at once they were telling how he had suddenly stood before them in the passage, without their knowing where he came from. He seemed to have come straight through the wall.

"Pooh!" said Samus, who had more or less kept her head. "You see the demon everywhere!" And it was true. For several months, there had been nothing discussed at the Opera but this demon in his casual black desert wear, who stalked about the building, from top to bottom. Like a ghost, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen, no one knowing how or where?

As was the character of ghosts, he made no noise in his walking, although he seemed to (as one man had described after seeing him walk) prowl like a wild cat. Another said his eyes were like that of precious stones, another even went as far as to say the brown sash he wore so proudly, was a belt of a strange torture device.

Despite the fear-provoking anecdotes; people began by laughing and making fun of this specter dressed like a man of desert travel; but the demon's fable soon increased to massive extent amongst the _**corps de ballet**_. All the girls pretended to have met this supernatural being more or less often; but those who laughed the loudest were not the most at ease.

When _he_ did not show himself, he betrayed his presence or his passing by accident, comic or serious, for which the general superstition held him responsible. Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powder-puff, it was at once the fault of the Opera Demon. After all, who had seen him?

You meet so many men in desert-clothes at the Opera who are not devils or ghosts. But this desert dress had a peculiarity of its own. It covered a skeleton. At least, so the ballet-girls said. And, of course, it had a death's eyes. Was all this serious? The truth is that the idea of the skeleton came from the description of the demon given by Neji, the chief scene-shifter, who had really seen the demon.

He had run up against the demon on the little staircase, by the footlights, which leads to "the cellars." He had seen him for a second- for the demon had fled-and to anyone who cared to listen to him he said:

_"__**He**__ is extraordinarily thin and has black pants, with a brown belt over one shoulder and around his waist; upon his other shoulder is a white sash. His shirt –which is not much to look at- is the familiar net material merchants call fishnets; and it hangs on a skeleton frame topped by hair of crimson. His eyes are so deep; like pools of sapphire! I swear they were made of real sapphire stones, you just feel like you're going to fall into those dead pools; and drown! His skin, which is stretched across his bones like a drumhead, is not tanned like a desert dweller, but a pale white like marble. His face is so little worth talking about that you can't see __**it's**__ side-face; for its covered by a black mask."_

This chief _**scene-shifter was a serious, sober, steady man, very slow at imagining things**_. His words were received with interest and amazement; and soon there were other people to say that they too had met a man with deaths ice blue eyes, and with a crimson hair on his head.

Sensible men who had wind of the story began by saying that Neji had been the victim of a joke played by one of his assistants. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uncomfortable. For instance, a fireman is a courageous fellow! He fears nothing, least of all fire! Well, the fireman in question, who had gone to make a round of inspection in the cellars and who, it seems, had ventured a little farther than usual, suddenly reappeared on the stage, pale, scared, trembling, with his eyes staring out of his head, and practically fainted in the arms of Madame' Temari. And why? Because he had seen coming toward him, at the level of his head, but without a body attached to it, a head of red fire, and eyes black with hot coals for pupils! A HEAD OF FIRE! And, as I said, a fireman is not afraid of fire

The corps de ballet was flung into alarm. At first sight, this fiery head in no way corresponded with Neji's description of the demon. But the young ladies soon persuaded themselves that the demon had several heads, which he changed about as he pleased. And, of course, they at once imagined that they were in the greatest danger.

A fireman did not hesitate to faint, main roles and front-row ballet girls and back-row ballet girls alike had plenty of excuses for the anxiety that made them quicken their pace when passing some shadowy corner or ill-lighted corridor. Shizune herself, on the day after the adventure of the fireman, placed a horseshoe on the table in front of the stage-door, which everyone who entered the Opera otherwise than as a spectator must lay a hand on before setting foot on the first tread of the staircase.

_This horse-shoe was not invented by me-any more than any other part of this story, alas!-and may still be seen on the table in the passage outside the stage, when you enter the Opera through the court. _

To return to the evening in question.

"It's the demon, I know it!" Tenten had cried again hugging poor Sakura. An agonizing silence now reigned in the dressing-room. Nothing was heard but the hard breathing of the girls. At last, Tenten, flinging herself upon the farthest corner of the wall, with every mark of real horror on her face, whispered: "Listen!" Everybody seemed to hear a rustling outside the door. There was no sound of footsteps. It was like a light wind picking up silk and sliding it across the panel. Then it stopped.

Shizune desperately tried to show more backbone than the others. She went up to the door and, in a quavering voice, asked:

"Who's there?" But nobody answered. Then feeling all eyes upon her, watching her last movement, she made an effort to show bravery, and said very loudly: "Is there any one behind the door?"

"Oh, yes, yes! Of course there is!" cried that soft pink head of a Sakura, heroically holding Shizune back by her gauze skirt.

"Whatever you do, don't open the door! Oh, Lord, don't open the door!" But Shizune, armed with a _**senbon**_ that never left her corset; turned the key and drew back the door. While the ballet-girls retreated to the inner dressing-room, Sakura sighed bitterly and hid her face in her hands too frightened to look.

Shizune looked into the passage daringly. It was empty; a gas-flame, in its glass prison, cast a red and suspicious light into the surrounding darkness, without succeeding in dispelling it. Upon the floor was a few grains of sand, and she quickly slammed the door again, with a deep sigh. "No, there is no one there." She said ignoring the small pile of sand on the floor.

"Still, we saw him!" Tenten declared, returning with timid little steps to her place beside Shizune.

"He must be somewhere prowling about. I shan't go back to dress. We had better all go down to the foyer together, at once, for the `speech,' and we will come up again together." And the girl nervously touched the trick ring which she wore as a charm against bad luck, while Shizune, stealthily, with the tip of her black and silver tipped right thumb-nail, made a cross motion on the wooden ring which adorned the fourth finger of her left hand.

She said tensely to the little ballet-girls: "Come, girls, pull yourselves together, I dare say no one has ever seen the demon!" and she put a hand on her skinny hips.

"Yes, yes, we saw him-we saw him just now!" cried the girls.

"He had his death's black eyes with flaming gold pupils and his fire hair! Just like when he appeared to Neji!" "And Yamato saw him too!" said Tenten.

"Only yesterday! Yesterday afternoon-in broad day-light-"

"Yamato, the chorus-master?" "Why, yes, didn't you know?" "And he was wearing his sashes!" " in broad daylight?" "Who? Yamato?" "Why, no, the ghost!"

"Certainly! Yamato told me so himself! That's what he knew him by. Yamato was in the manager Asuma's office. Suddenly the door opened and the One Tale entered. You know the One Tale has the evil eyes, like gold coins-"

"Oh, yes!" answered the little ballet-girls in chorus, warding off ill-luck by pointing their forefinger and little finger at the absent One Tale, while their second and third fingers were bent on the palm and held down by the thumb.

"And you know how superstitious Yamato is," continued Tenten. "However, he is always polite. When he meets the One Tale, he just puts his hand in his pocket and touches his keys.

Well, the moment the One Tale appeared in the doorway, Yamato gave one jump from his chair to the lock of the cupboard, so as to touch iron! In doing so, he tore a whole skirt of his overcoat on a nail. Hurrying to get out of the room, he banged his forehead against a hat-peg and gave himself a huge bump; then, suddenly stepping back, he skinned his arm on the screen, near the piano; he tried to lean on the piano, but the lid fell on his hands and crushed his fingers; he rushed out of the office like a madman, slipped on the staircase and came down the whole of the first flight on his back. I was just passing with Temari and Grandmother Chiyo. We picked him up. He was covered with bruises and his face was all over blood; I thought I might faint!" She added the last part while fanning her face dramatically.

"-We were frightened out of our lives, but, all at once, he began to thank fate that he had got off so cheaply. Then he told us what had terrified him so. He had seen the demon behind the One Tale, THE DEMON WITH THE DEATH'S HEAD just like Neji's description!" Tenten had told her story ever so quickly, as though the demon were at her heels, and was quite out of breath at the finish. A silence followed, while Shizune polished her nails in great nervousness.

It was broken by little Moegi, who said: "Neji would do better to hold his tongue." "Why should he hold his tongue?" asked somebody.

"That's Temari's opinion," replied Moegi, lowering her voice and looking all about her as though fearing lest other ears than those present might overhear.

"And why is it Temari's opinion?"

"Hush! Temari says the demon doesn't like being talked about."

"And why does Temari say so?"

"Because-because-nothing-" This bashfulness frustrated the curiosity of the young ladies, who crowded round little Moegi, pleading her to explain herself. They were there, side by side, leaning forward all together in one movement of panic, communicating their terror to one another, taking a keen pleasure in feeling their blood freeze in their veins.

"I swore not to tell!" gasped Moegi. But they left her no peace and promised to keep the secret, until Moegi, burning to say all she knew, began, with her eyes fixed on the door:

"Well, it's because of the private box."

"What private box?" "The demon's box!""Has the demon a box? Oh, do tell us, do tell us!"

"Not so loud!" said Moegi. "It's Box Five, you know, the box on the grand tier, next to the stage-box, on the left."

"Oh, nonsense!" said Samus,

"I tell you it is. Temari has charge of it. But you swear you won't say a word?"

"Of course, of course." Replied Samus for the lot,

"Well, that's the demon's box. No one has had it for over a month, except the demon, and orders have been given at the box-office that it must never be sold."

"And does the demon really come there?" Samus said skeptically,

"Yes." Moegi glared, much annoyed with her friends disbelieve.

"Then somebody does come?" Sam continued her interrogation.

"Why, no! The demon comes, but there is nobody there." Moegi rolled her dark eyes.

The little ballet-girls exchanged glances. If the demon came to the box, he must be seen, because he wore desert traveler's cape, and sashes; and had death's head.

This was what they tried to make Moegi understand, but she replied: "That's just it! The demon is not seen. And he has no cloak and no head or sapphire eyes! All that talk about his death's head of fire and his red hair is nonsense! There's nothing in it. You only hear him when he is in the box. Temari has never seen him, but she has heard him. Temari knows, because she gives him his program. He is like a ghost!"

"Moegi, child, you're getting at us!" Shizune interfered, and then little Moegi began to cry.

"I ought to have held my tongue-if Temari ever came to know! But I was quite right, Neji had no business to talk of things that don't concern him-it will bring him bad luck- Grandmother was saying so last night-" There was a sound of hurried and heavy footsteps in the passage and a breathless voice cried: "Shizune! Shizune! Are you there?"

"Its Tayuya's voice" said Tenten standing.

"What's the matter?" Shizune opened the door quite in a daze.

A girl with wild sunset pink hair burst into the dressing room, scantily clad in one of the Egyptian styled gypsy costumes, she dropped into a vacant arm-chair and leaned back with a loud huff, cheeks flushed from her sprint..

"How appalling!" she said. "How friggin appalling!" she repeated removing her hand to look guiltily at Tenten before glaring at the other ballet girls.

"What? What's so horrible?" demanded an unfazed Sam, who couldn't stand Tayuya or her theatrics.

"Neji!" Tayuya replied sending a spiteful glare at the girl, for she had always hated Sam's attitude, and that the other girl was favorite by the Uchiha, Count Itachi.

"What about him?" all the ballet girls cried,

"Neji is dead!" The room became filled with exclamations, with stunned outcries, and fearful requests for explanations.

"Yes, he was found hanging in the third-floor cellar!" Tayuya explained, and poor Tenten let out a sob.

"It's the demon!" little Moegi blurted, as though in spite of herself; but she at once corrected herself, with her hands pressed to her mouth: "No, no!-I, didn't say it!-I didn't say it!-"

All around her, her panic-stricken companions repeated under their breaths: "Yes-it must be the demon!" even as they hugged they're companion Tenten.

"I shall never be able to recite my speech," Shizune said looking very, very pale indeed.

Samus gave her opinion, while she emptied a glass of wine that happened to be standing on a table; "the demon must have something to do with it. I'm a skeptic, but..." There was no end to her words as she finished the last drop of wine, waving away her sentence.

The reality is that no one ever knew how Neji met his death. The verdict at the inquest was "natural suicide."

In his Journals as Manager, Hatake Kakashi, one of the joint managers who succeeded MM. Sarutobi and Chiyo, describes the incident as follows:

_"A grievous accident spoiled the little party which MM. Sarutobi and Chiyo gave to celebrate their retirement. I was in the manager's office, when the acting-manager Asuma, suddenly came darting in. He seemed half mad and told me that the body of a scene-shifter had been found hanging in the third cellar under the stage, between a farm-house and a scene from the __**Roi de Lahore**__._

_He had shouted: "`Come and cut him down!' "By the time Kakashi had rushed down the staircase, the man was no longer hanging from his rope!"_

So this is an event which Hatake Kakashi thinks natural. A man hangs at the end of a rope; they go to cut him down; the rope has disappeared. Oh, Hatake Kakashi found a very simple explanation! Listen to him:

_"It was just after the ballet; and lead rolls and dancing-girls lost no time in taking their precautions against the evil eye."_

There you are! Picture the corps de ballet scuttling down the ladder and dividing the suicide's rope among themselves in less time than it takes to write! When, on the other hand, I think of the exact spot where the body was discovered- the third cellar underneath the stage!-imagine that SOMEBODY must have been interested in seeing that the rope disappeared after it had effected its purpose; and time will show if I am wrong. The horrid news soon spread all over the Opera, where Neji was very popular. The dressing-rooms emptied and the ballet-girls, crowding around Shizune like timid sheep around their shepherdess, made for the foyer through the ill-lit passages and staircases, trotting as fast as their little pink legs could carry them. Tenten crying softly all the way.

* * *

_**For this Chapter...**_

**Viscount:****(****viscountess ****for female)****is a member of the European ****nobility ****whose ****comital ****title ranks usually, as in the ****British peerage, above a ****baron, below an ****earl****(in the United Kingdom) or a ****count****(the earl's continental equivalent).**

**Depths of Despair****: One of my personal favorite Anne of Green Gables sayings.**

**Examining Magistrate****:****The****examining **_**magistrate**__**or**__**investigating magistrate**_**is a****judge****who carries out investigations into cases and arranges****prosecutions.**

**Faubourg Saint-Germain:****is a historic district of****Paris. The****Faubourg****has long been known as the favorite home of the French****high nobility****. ****In its early history,****Faubourg Saint-Germain****used to be an agricultural suburb of Paris.**

"**cunning and incoherent personality":**** In **_**Naruto-Wikia**_** under Shakaku's personality it says "Shukaku is cunning, but also incoherent, giving it the it the demeanor of a madman. According to Gaara, because of its innate rage and blood-lust, Shukaku relishes the opportunity to kill anyone in **

**sight, even more so during full moon."**

**Gala****: ****A festive occasion, especially a lavish social event or entertainment.**

"**Polyeucte**** martyr:" is a drama in five acts by French writer Pierre Corneille**

**Rue le Peletier****: Translated ****the Boulevard of the Italians, is one of the first three streets of Paris to have a sidewalk and is considered a rather posh area at times throughout history.**

**Corps de ballet****: ****In****ballet, **_**the**__**corps de ballet**_**(from****French,****body of the ballet) is the group of dancers who are not soloists. They are a permanent part of the****ballet company****and often work as a****backdrop****for the****principal dancers. A****corps de ballet****works as one, with synchronized movements and corresponding positioning on the stage.**

**Senbon****: are metal needles with a point at both ends. They often serve a medical purpose, being used to strike acupuncture points. They have little killing power, but can be thrown with great accuracy. A user with proper medical knowledge however, can effectively use senbon in battle to incapacitate or even kill their target should they aim for vital spots. To make these needles more effective, the user can poison the tips of the senbon. An added benefit of throwing these at the enemy is that these are smaller than a kunai or a shuriken, making it harder to see and dodge.**

**Le roi de Lahore:**** is an opera in five acts by Jules Massenet to a French libretto by Louis Gallet.**

"**the chief cene-shifter was a serious, sober, steady man, very slow at imagining things…": yes in the movie Joseph is made out to be a drunkard, but in the books he is very much sober and in fact not fond of drink at all. I agree with the books.**

**Gekkou Hayate****: yes he is a Naruto character, comment if you know something about him and I'll give one of your stories a long winded review and maybe a shoutout! (NO GOOGLING!)**

* * *

**General Information –The titles below will be at the end of each chapter and will often be added too and maybe edited-**

**Gaston Leroux****: Has been replaced by Me, Ravin. (I have no right *evil grin*)**

**Suna****: Has taken the place of Paris**

**Konoha****: Taken over North America, and parts of England.**

**Sunagakura****: Has replaced; ****Rue de Rivoli, Paris, ect**

**Madame Temari: as, Mdm Giry**

**Sasuka Uchiha: as, Vicomte' De Chagny / Raol**

**Itachi Uchiha: as, Count Itachi**

**Hinata Hyuuga: as, Christine Daae'**

**Sabaku no Gaara / Demon of the Opera: as, Erik / the Phantom of the Opera**

**Shukaku / One Tale: as "The Persian" /**

**Moegi: as, "Little Meg"**

**Hatake Kakashi: as, Armand Moncharmin**

**Tenten: as, Little Jammes**

**Shizune: as, La Sorelli**

**Neji Hyuuga: as, ****Joseph Buquet**

**Samus Evangeline: as, Ballet Corpse girl 1**

**Ino Yamanaka: as, La Carlotta**

**Sarutobi / 3****rd**** Hokage: as, Debienne**

**Chiyo: as, Poligny**

**Gekkou Hayate: as, M Faure**

**Maito Gai: as, Firmin Richard**

**Kiba Inuzuka: as M. Kiba the Stable Master**

**Sarutobi Asuma: as, acting-manager Mercier, Stage Manager**

**Akamaru: as, Caser the horse**

**Kimimaro Kaguya: as, Carolus Fonta**

**Orochimaru: as, M. Maniera**

**Jiraiya: as M. ****Isidore** **Saack**

**Tsunade: As, Julie**

**Yuhi Kurenai: as, Valerius**

* * *

_**IMPORTANT NOTE TO **_**ALL**_** READERS**_

**I'd like to make a poll.**

**Would you rather Hinata (**_**Christine**_**) ended up with Sasuke (**_**Raol**_**), or Gaara (**_**Opera Demon**_**)?**

**Or would you rather they died at the end? **

**-To vote please comment! 3**

**Sasuke: 0**

**Gaara: 0**

**Nobody gets the girl: 0**

* * *

**May You Forever Howl,**

**Ravin**


	2. Chapter 2

**FeatherTrinity Writer****: Ravinious L. Rosa DiamondEyes the Howler**

**Fiction of: Phantom of the Opera by Gaston Leroux & Naruto**

**Name: ****_Demon of the Opera_**

**Disclaimer:**** I do not own ****_Naruto_**** or ****_Phantom of the Opera_****, **

**Tags: ****phantom of the opera, Gaara, gaahina, gaaraxhinata, hinataxgaara, Hinata, Naruto, crossovers, Sasuhina, hinasasu, Sasuke, Itachi, oc's, feathertrinity, fanfiction, demon, nejixtenten, DiamondEyes, ShikaTema, ShikamaruXTemari, love, romance, drama, horror, stalker, creepy, rape, graphic, blood, gore, action, diary, suspense, fiction,**

* * *

_For several day's I did not write much of anything, maybe numbly wrote down a poem or two, and left it at that. The true inspiration to write only came after talking with dear Evangeline. She was sitting on her bed telling me about how much she was enjoying writing a new story about a girl who worked in a hospital that was plagued by gangs; I interrupted the story as Evangeline got to the part about a dance, suddenly ideas of masquerades and the stage attacking my numb brain. Without much warning to poor Evangeline, I ran off to start writing my version of _The Phantom of the Opera_ that would surely please Lord Illusion more than the original ever had…_

* * *

**Chapter II  
The New Margarita**

On the first landing in her rush, Shizune almost ran over the Comte Itachi de Uchiha, who was coming up-stairs. The count, who was generally so composed, seemed greatly excited. "I was just going to you," he spouted no real emotion on his face, but his eyes where shinning, taking off his black and red cloak. "What an evening, And Hinata Hyuuga: what an achievement." Still no emotion, but the slight dip of his head showed he was impressed.

"Impossible!" said Samus, butting into the conversation.

"Six months ago, she used to sing like a screech owl! But do let us get by, my dear count," continued Samus, with a saucy curtsey, her red-brown eyes narrowing playfully at him.

"We are going to inquire after a poor man who was found hanging by the neck." She seemed almost happy by the idea, one cheeky corner of her lip twitching up.

Just then the acting-manager Asuma and Kakashi came fussing past and stopped when he heard this remark.

"What!" Kakashi exclaimed roughly, his hand holding a book dropping to his side.

"Have you girls heard already? Well, please forget about it for tonight-and above all don't let M. Sarutobi and M. Chiyo hear; it would upset them too much on their last day."

They all went on to the foyer of the ballet, which was already full of people. The Comte Itachi de Uchiha was right; no gala performance ever equaled this one. All the great composers of the day had conducted their own works in turns, but the real triumph was reserved for Hinata Hyuuga, who had begun by singing a few passages from Romeo and Juliette. It was the first time that the young midnight haired artist sang in this work. Those who heard her sing said that her voice, in these passages, was **_seraphic_**; but this was nothing to the extraordinary notes that she gave forth in the prison scene and the final trio in FAUST, which she sang in the place of La Ino, who was ill. No one had ever heard or seen anything like it. Hinata revealed a new **_Margarita_** that night, a Margarita of a splendor, a radiance until then unsuspected. The whole house went crazy, the audience rising to their feet, shouting, cheering, and clapping; while Hinata sobbed and fainted in the arms of her fellow-singers and had to be carried to her lavender furnished dressing-room.

A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Hinata Hyuuga had played a **_good Siebel_** to Ino's rather too splendidly material Margarita. And it had needed Ino's unfathomable and inexcusable absence from this gala night for the little Hinata, at a moment's warning, to show all that she could do in a part of the program reserved for the blonde diva!

Well, what the subscribers wanted to know was, why had Sarutobi and Chiyo applied to Hyuuga, when Ino was taken ill? Did they know of her hidden talent? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a sensei for singing at that moment. She had often said she meant to practice alone for the future. The whole thing was a mystery.

The Comte Itachi de Uchiha, standing up in his box, listened to all this frenzy and took part in it by loudly applauding. Comte Itachi de Uchiha was just thirty-one years of age. He was a great aristocrat and a good-looking man, above middle height, and with attractive features –such as his long black hair-, in spite of his hard expressions, and his rather cold eyes. He was exquisitely polite to the women although he did not say much, and was a little haughty to the men, who did not always forgive him for his successes in society. He had fast wits and an amazing knowledge of just about everything.

On the death of old Count Fugaku, he became the head of one of the oldest and most distinguished families in Suna, whose arms dated back to the fourteenth century. The Uchiha's owned a great deal of property; and, when the old count Fugaku, who was a widower, died, it was no easy task for Itachi to accept the management of so large an estate. His younger brother, Sasuke, would not hear of a division and waived his claim to his shares, leaving himself entirely in Itachi's hands, as though the right of **_primogeniture_** had never ceased to exist.

Mikoto de Uchiha had died in giving birth to Sasuke, who was born ten years after his elder brother. At the time of the old count's death, Sasuke was twelve years of age. Itachi busied himself actively with the youngster's education. He was admirably assisted in this work first by old aunt, the widow of an Anbu.

The lad entered the Nin Academy, finished his course with honors and quietly made his trip round the world. Thanks to powerful influence, he had just been appointed a member of the mission with the Sound Four, which was to be sent to the **_Yukigakure no Sato_** in search of the survivors of the **_Yukihime _**expedition, of whom nothing had been heard for three years. Meanwhile, he was enjoying a long vacation which would not be over for six months; and already the **_Bluestocking's_**of Sunagakure found him most interesting. The quiet reserve of the lad-I was almost saying his desirable quality- was remarkable. He often spoke –when he spoke at all for he was often quiet- of adventure and the power it brought to feel a mission completed; in such calm tones, the ladies found it so very intriguing and scandalous. He was in fact an accomplished bad boy, smoothed by the constant watchful eye of his elder brother; completely aware of his effect upon the ladies.

He was a little over twenty-one years of age and looked eighteen. He had a dark raven hair, muscular chest and shoulders, with deep eyes that held a boyish quality. Not like his older brother who even in his young age had lines of a frown already imprinted upon his handsome face.

Itachi spoiled Sasuke. To begin with, he was very proud of him and pleased to foresee a glorious career for his junior in the Anbu in which one of their ancestors, the famous Uchiha de La Madara, had held the rank of admiral.

He took advantage of the young man's mission breaks to show him Suna, with all its luxurious yet simplistic culture and fine cuisine delights. The count considered that, at Sasuke's age, it is not good to be too good. Itachi himself had a character that was very well-balanced in work and pleasure alike; his manner was always faultless though calm; and he was incapable of setting his brother a bad example. He took him with him wherever he went. He even introduced him to the foyer of the ballet.

The count was said to be "close friends" with Samus, but it could hardly be reckoned as a crime for this nobleman, a bachelor, with plenty of leisure, to come and spend an hour or two after dinner in the company of a dancer, who, though not so very humorous, had the finest eyes that ever were seen! And, besides, there are places where a true Suna citizen, when he has the rank of the Comte de Uchiha, is bound to show himself; and at that time the foyer of the ballet at the Opera was one of those places. Lastly, Itachi would perhaps not have taken his brother behind the scenes of the Opera if Sasuke had not been the first to ask him, repeatedly renewing his request with a gentle persistence which the count remembered at a later date.

On that evening, Itachi, after applauding the Hyuuga, turned to Sasuke and saw that he was quite pale. "Don't you see," said Sasuke, "that the woman's fainting?"

"You look like fainting yourself," said Itachi his applause quickly fading to a deadpan look.

"What is wrong?" But Sasuke had recovered himself and was standing up. "Let's go and see," he said, "she never sang like that before." Itachi gave his brother a glance and seemed quite pleased a deep hum coming from his throat, although still no expression showed on his face.

They were soon at the door leading from the house to the stage. Numbers of spectators were slowly making their way through. Sasuke drummed his fingers upon the katana he wore at his side without knowing what he was doing and Itachi had much too kind a heart to reprimand him for his unsettled demeanor. But he now understood why Sasuke was absent-minded when spoken to and why he always tried to turn every conversation to the subject of the Opera. They reached the stage and pushed through the crowd of gentlemen, scene-shifters, supers and chorus-girls, Sasuke leading the way, feeling that his heart no longer belonged to him, his face set with enthusiasm, while Count Itachi followed him with difficulty and continued to hum softly to himself.

At the back of the stage, Sasuke had to stop before the inrush of the troop of ballet-girls who blocked the passage which he was trying to enter. More than one chaffing phrase darted from little made-up lips, to which he did not reply; and at last he was able to pass, and dived into the semi-darkness of a corridor ringing with the name of "Hinata! Hinata!"

Itachi was surprised to find that Sasuke knew the way. He had never taken him to dressing-rooms himself and came to the conclusion that Sasuke must have gone there alone while Itachi stayed talking in the foyer with Samus, who often asked him to wait until it was her time to "go on" and sometimes handed him the little **_gaiters_** in which she ran down from her dressing-room to preserve the spotlessness of her satin dancing-shoes and her flesh-colored tights. Postponing his usual visit to Samus for a few minutes, the count followed his brother down the passage that led to Hyuuga's dressing-room and saw that it had never been so crammed as on that evening, when the whole house seemed excited by her success and also by her fainting fit. For the girl had not yet come to; and the medic nin of the theater had just arrived at the moment when Sasuke entered at his heels.

Hinata, therefore, received the first aid of the one, while opening her eyes in the arms of the other. The count and many more remained crowding in the doorway. "Don't you think, sir, that those gentlemen had better clear the room?" asked Sasuke coolly. "There's no breathing here." "You're quite right," said the medic nin. And he sent every one away, except Sasuke and the maid, who looked at Sasuke with eyes of the most unconcealed astonishment. She had never seen him before and yet dared not question him; and the medic nin imagined that the young man was only acting as he did because he had the right to. The **_viscount_**, therefore, remained in the room watching Hinata as she slowly returned to life, while even the joint managers, Sarutobi and Chiyo, who had come to offer their sympathy and congratulations, found themselves thrust into the passage among the crowd of dandies. The Comte de Uchiha, who was one of those standing outside, laughed:

"Oh Otuto" And he added, under his breath:

"So he's an Uchiha after all.." He turned to go to Samus' dressing-room, but met her on the way, with the little troop of trembling ballet-girls, and a dazed Shizune.

Meanwhile, Hinata Hyuuga uttered a deep sigh, which was answered by a groan. She turned her head, saw Sasuke and started. She looked at the medic nin, on whom she bestowed a smile, then at her maid, then at Sasuke again.

"M-Monsieur," she said, in a voice not much above a whisper, "w-who are you?"

"Mademoiselle," replied the young man, kneeling on one knee and pressing a fervent kiss on her porcelain white hand.

"I am the little boy who went to rescue your scarf." Hinata again looked at the medic nin and the maid with confused silver eyes; and all three began to laugh. Sasuke turned very red and stood up. "Mademoiselle," he said, "since you are pleased not to recognize me, I should like to say something to you in private, something very important."

"When I am better, d-do you m-mind?" And her voice shook.

"Yes, you must go," said the medic nin, with his pleasantest smile. "Leave me to attend to Hinata."

"I am n-not ill n-now," said Hinata suddenly, with strange and unexpected energy. She rose and passed her hand over her eyelids. "T-thank you, I s-should like to be a-alone."

The medic nin tried to make a short protest, but, perceiving the girl's evident agitation; he thought the best remedy was not to thwart her. He went away, saying to Sasuke, outside:

"She is not herself tonight. She is usually so gentle." Then he said good night and Sasuke was left alone. The whole of this part of the theater was now abandoned. The farewell ceremony was no doubt taking place in the foyer of the ballet. Sasuke thought that Hyuuga might go to it and he waited in the silent solitude, even hiding in the favoring shadow of a doorway. He felt a terrible pain at his heart and it was of this that he wanted to speak to Hyuuga without delay.

Suddenly the dressing-room door opened and the maid came out by herself, carrying bundles. He stopped her and asked how her mistress was. The woman laughed and said that she was quite well, but that he must not disturb her, for she wished to be left alone, and she passed on.

One idea alone filled Sasuke's burning head: of course, Hyuuga wished to be left alone for him! Had he not told her that he wanted to speak to her privately? Hardly breathing, he went up to the dressing-room and, with his ear to the door to catch her reply, prepared to knock, but his hand dropped.

He had heard a _man's_ voice in the dressing-room, saying, in a growling tone of power: "Hinata, you must love me!" And Hinata's voice, infinitely sad and trembling, as though accompanied by tears, replied: "How can you talk like that? When I sing _only_ for you!" Sasuke leaned against the panel to ease his pain. His heart, which had seemed gone forever, returned to his breast and was throbbing loudly. The whole passage echoed with its beating and Sasuke's ears were deafened. Surely, if his heart continued to make such a noise, they would hear it inside, they would open the door and the young man would be turned away in disgrace. What a position for an Uchiha! To be caught listening behind a door! He took his heart in his two hands to make it stop.

The man's voice spoke again: "Are you tired?"

"Oh, to-night I g-gave you my soul and I am dead!" Hinata replied voice laden with emotion.

"Your soul is a beautiful thing," replied the man's voice, "No man ever received so fair a gift," the voice got quieter and there was the sound of heavy footsteps "The angels wept tonight" the voice was unnatural and the sob from Hinata was enough to make Sasuke think better of breaking down the door, but Sasuke heard nothing after that. Nevertheless, he did not go away, but, as though he feared that he should be caught, he returned to his gloomy corner, determined to wait for the man to leave the room.

At one and the same time, he had learned what love meant, and hatred. He knew that he loved. He wanted to know whom he hated. To his great astonishment, the door opened and Hinata Hyuuga appeared alone, with her face hidden under the cowl of a purple and white cloaks hood. She closed the door behind her, but Sasuke observed that she did not lock it. She passed him. He did not even follow her with his eyes, for his eyes were fixed on the door, although he could smell her sweet perfume as she passed. When the door did not open again, and the passage was once more deserted, he crossed it, opened the door of the dressing-room, went in and shut the door. He found himself in absolute darkness. The gas had been turned out.

"Who is there!" said Sasuke, with his back against the closed door, in an overly tough voice.

"What are you hiding for?" All was darkness and silence. Sasuke heard only the echo of his own breathing. He quite failed to see that the indiscretion of his behavior was exceeding all limits.

"You shan't leave this until I let you!" he exclaimed. "If you don't answer, you are a coward! But I'll expose you!" And he struck a match. The blaze lit up the room.

There was no one in the room!

Sasuke, first turning the key in the door, lit the gas-jets. He went into the dressing-closet, opened the cupboards, hunted about, felt the walls with his hands. Nothing! Only a small pile of sand in one corner of the room.

"Look here!" he said, aloud. "Am I going mad?" He stood for ten minutes listening to the gas flaring in the silence of the empty room; lover though he was, he did not even think of stealing a ribbon that would have given him the fragrance of the woman he cherished. He went out, not knowing what he was doing or where he was going. At a given moment in his rebellious progress, an icy draft struck him in the face. He found himself at the bottom of a staircase, down which, behind him, a procession of workmen were carrying a sort of stretcher, covered with a white sheet.

"Which is the way out, please?" he asked of one of the men.

"Straight in front of you, the door is open. But let us pass." Pointing to the stretcher, he asked without thinking: "What's that?" The workmen answered:

"`That is Neji , who was found in the third cellar, hanging between a farm-house and a scene from **_Twelfth Night_**." He took off his hat, fell back to make room for the procession and went out.

* * *

**For this Chapter**…

**Seraphic****: Characteristic of or resembling a seraph or seraphim (Angel), "a seraphic smile" **

**Margarita****: I'm not sure what they mean by this in this chapter, I'm pretty sure it's a play/act's singing performance, but for all the googling in the world I couldn't find this piece of the name of the play. Anyone out there know what they mean?**

**"****good Siebel****": a side character in the same play that has the performance of the "Margarita"(see above)**

**_Fuguka_****: as, Count Philibert (who is only mentioned once in this chapter)**

_**Primogeniture**__**:**_** is the right, by law or custom, of the firstborn to inherit the entire estate, to the exclusion of younger siblings**

**Yukigakure no Sato****: Meaning "Village Hidden in the Snow"**

**Yukihime****: Meaning "Snow" Taken from "****_Naruto the Movie: Ninja Clash in the Land of Snow_****"**

**Bluestocking****: Regency Era slang for "an educated, intellectual woman."**

_**Gaiters**__**:**_** are garments worn over the shoe and lower pants leg, and used primarily as protective equipment. Or in this case, to preserve the spotlessness of one's dancing shoes!**

**Viscount**** nobility comital British peerage baron earl count (the earl's continental equivalent).**

**Twelfth****Night****; or, What You Will is a comedy by William Shakespeare, believed to have been written around 1601–02 as a Twelfth Night's entertainment for the close of the Christmas season**

* * *

** Chapter Trivia: What is Hinata Hyuuga's English name? First to answer get's a shoutout to one of their (or a friends) stories!**

* * *

**General Information –The titles below will be at the end of each chapter and will often be added too and maybe edited-**

**Gaston Leroux****: Has been replaced by Me, Ravin. (I have no right *evil grin*)**

**Suna****: Has taken the place of Paris**

**Konoha****: Taken over North America, and parts of England.**

**Sunagakura****: Has replaced; Rue de Rivoli, Paris, ect**

**Madame Temari: as, Mdm Giry**

**Sasuka Uchiha: as, Vicomte' De Chagny / Raol**

**Itachi Uchiha: as, Count Itachi**

**Hinata Hyuuga: as, Christine Daae'**

**Sabaku no Gaara / Demon of the Opera: as, Erik / the Phantom of the Opera**

**Shukaku / One Tale: as "The Persian" /**

**Moegi: as, "Little Meg"**

**Hatake Kakashi: as, Armand Moncharmin**

** Tenten: as, Little Jammes**

**Shizune: as, La Sorelli**

**Neji Hyuuga: as, Joseph Buquet**

**Samus Evangeline: as, Ballet Corpse girl 1**

**Ino Yamanaka: as, La Carlotta**

**Sarutobi / 3****rd**** Hokage: as, Debienne**

**Chiyo: as, Poligny**

**Gekkou Hayate: as, M Faure**

**Maito Gai: as, Firmin Richard**

**Kiba Inuzuka: as M. Kiba the Stable Master**

**Sarutobi Asuma: as, acting-manager Mercier, Stage Manager**

**Akamaru: as, Caser the horse **

**Kimimaro Kaguya: as, Carolus Fonta**

**Orochimaru: as, M. Maniera**

**Jiraiya: as M. Isidore** **Saack**

**Tsunade: As, Julie**

**Yuhi Kurenai: as, Valerius**

* * *

**_IMPORTANT NOTE TO _****ALL****_ READERS_**

**I'd like to make a poll.**

**Would you rather Hinata (****_Christine_****) ended up with Sasuke (****_Raol_****), or Gaara (****_Opera Demon_****)?**

**Or would you rather they died at the end? **

**-To vote please comment! 3**

**Sasuke: 0**

**Gaara: 1**

**Nobody gets the girl: 0**

* * *

**May You Forever Howl,**

**Ravin**


End file.
